The Trouble With Henry S
by Rhea's Teleplays
Summary: Lab tech, Henry Andrews, has worked under the radar since he started working with the CSi. But when his parents are killed in a hit and run, he risks his job and secrets to bring their killer to justice.
1. Teaser

CSI: CRIME SCENE INVESTIGATION

"The Truth About Henry"

TEASER

FADE IN:

EXT. LAS VEGAS (STOCK) - EVENING

To establish. The sun has almost dropped below the western horizon.

EXT. SAVER'S CAR RENTAL - EVENING

Mike Braun (late 20's) and Alicia Travers (mid-20's) are cutting the fence. They are drunk and high, but still able to function.

The terminal of McCarran International Airport stretches out behind them. A plane takes off and Mike shouts at it, but his shout is lost in the noise.

They slip through the hole and run to a row of expensive cars, including a Torch Red, 2008 Shelby GT. Mike reaches out to touch it and Alicia slaps his hand away.

She digs into his pockets, the two kissing while she searches. She pulls out an encoded key and taps the button on it. The alarm disengages and they get in.

Across the lot three attendants look up when they hear the car's engine rev to life. One walks out to the middle of the drive. The Shelby barrels around the corner aimed at the attendant. He can't move out of the way in time. The car smashes into him, tossing him through the air.

It crashes through the front gate arm and almost hits several cars as it fishtails. The driver rights it and speeds off toward The Strip.

EXT. SAVER'S CAR RENTAL - LATER

A CSI vehicle pulls up next to a police car. **RILEY** and **GREG** climb out and join **OFFICER LUKE** standing near the body.

RILEY  
We were told this has to do with  
the other hit and runs?

Officer Luke shakes his head.

OFFICER LUKE  
Whoever took this car has a serious  
chip on his shoulder. He's already  
killed three more on The Strip.

Riley starts to speak when dispatch comes across their radios.

DISPATCHER (Over Radio)  
Units requested. Code 3. Two  
pedestrians down. Red sports car.  
Nevada plates. November, Paul,  
Romeo, seven, four, niner.  
Emergency response en route.

OFFICER LUKE  
And this is just the first forty-  
five minutes of our shift.

GREG  
It's gonna be a long night.

Riley agrees.

SMASH CUT:

OPENING CREDITS.

FADE OUT.

END OF TEASER


	2. Act One

ACT ONE

FADE IN:

EXT. LAS VEGAS (STOCK) - NIGHT

To establish.

EXT. MANDALAY BAY - NIGHT

**HENRY** Andrews exits the hotel with his younger brother **JASON** riding on his shoulders. Jason is six, but small for his age. Henry pretends to stumble and almost lose his balance. The child trusts his big brother explicitly and laughs each time.

Behind them **HARVEY ANDREWS** and **RACHEL** Andrews follow. A wealthy couple entering their Golden Years. They watch their sons play with disapproval. The family stops at the curb.

Henry leans over so Jason falls off and catches him, holding him on his hip. Jason puts his hands on Henry's face and the two make faces at each other.

RACHEL  
Henry stop winding him up.

Henry and Jason look at the two and their humor disappears. Henry sets Jason on the sidewalk next to him, but the child clings to him.

A valet trots up and Harvey Andrews hands his ticket to him. The man jogs off to retrieve their car.

JASON  
Can you swing me, Henry?

RACHEL  
No, he may not.

JASON  
Just once, Mommy?

HARVEY ANDREWS  
Your mother said no. You will obey  
her, Jason.

HENRY  
Hey, listen to mother, okay, kiddo?

HARVEY ANDREWS  
His name is Jason.

HENRY  
It's just--

A sharp look silences the rebuttal.

HENRY  
Yes, sir.

The car arrives. Harvey tips the valet before taking the keys.

HENRY  
(to Jason)  
Want me to buckle you in?

RACHEL  
He can do it himself.

HENRY  
Yeah, but there's something funner  
about your big brother doing it,  
huh, Jason?

JASON  
Yep!

HARVEY ANDREWS  
Funner is not a word, Henry. Don't  
teach him slang.

JASON  
I want to stay with you, Henry.

HENRY  
You're going to see Uncle Gary. You  
can't stay with me.

JASON  
Why can't you come?

HENRY  
I have to work.

RACHEL  
I told you we can help you this  
month if you went.

HENRY  
It's not the money, mother. I  
didn't get the time off.

HARVEY ANDREWS  
You would have had vacation time if  
you'd stayed at the laboratory like  
I told you to.

Henry is trying hard to bottle his anger in the face of this old fight.

HARVEY ANDREWS (CONT'D)  
I can't understand why you'd throw  
away such a promising career like  
that. Apparently we failed in  
raising you.

Henry glares.

HARVEY ANDREWS (CONT'D)  
Maybe for once you could explain that.

HENRY  
Are you telling me that after two  
years you'd actually listen to me,  
father? Why is now suddenly different?

The tension that follows freezes Rachel and Jason. Henry backs down first when he turns and opens the back door for Jason.

HENRY (CONT'D)  
Get in, Jas.

Jason climbs into a car seat. Henry leans in and buckles him in. He triple checks all the straps.

HENRY (CONT'D)  
Snug as a bug in a rug.

JASON  
Oh! I need Ralph.

Henry picks up a worn patchwork stuffed dog from the floor and sets it on Jason's lap.

HENRY  
I love you, Cake.

JASON  
I love you ditto, Pie.

The two hug and Henry climbs out, shutting the door. He turns to face his father. His expression dares the man to say something about the brother's ritual good bye.

Henry opens the passenger door for his mother. She gets in and he starts to shut the door. She lays her hand on his, looking up at him. Harvey walks around to the driver's door.

RACHEL  
We'll stop by on the way back  
through. Maybe we can spend some  
time then.

HENRY  
I'd like that, mother. We could go  
to the Hoover Dam.

RACHEL  
Yes. That would be fun. Good-bye,  
Henry. All my love.

Henry kisses her cheek and closes the door. He looks over the top of the car at his father. The two stare at each other -- the brink of another argument or something else? Harvey Andrews looks down.

HARVEY ANDREWS  
I just want what's best for you.

Henry doesn't want to keep beating this dead horse.

HARVEY ANDREWS (CONT'D)  
I just--

HENRY  
Harvey!

He looks up at Henry. Henry smiles.

HENRY (CONT'D)  
I had to leave. When are you going  
to see that? I was angry at you all  
the time -- you were at work, at  
home, chasing off girlfriends you  
didn't think were fit. You had been  
doing that as long as I can remember!  
Leaving was the only best answer  
for both of us.

Harvey Andrews tears up but it's over fast. He opens the car door.

HARVEY ANDREWS  
We'll call when we're coming back.  
Good night, son.

HENRY  
Have a safe drive, father.

Harvey Andrews gets in. Henry watches them leave. Their Ohio license plate sticks out among the Nevada plates. Henry turns when their Caddy is lost from sight.

FADE TO: WHITE

EXT. US 95 - NIGHT

Traffic is backed up for a mile. Along that mile are at least three car accidents. Leaving the middle accident scene is a CSI vehicle with its emergency lights flashing. It drives on the shoulder to the next scene, stopping behind a squad car.

From it emerge **NICK** and **CATHERINE** with field kits. At the bottom of the steep embankment a mangled car rests on its top. Two coroners are preparing two bodies for transport.

CATHERINE  
Fifth one tonight. Whoever is doing  
this must be going for a record.

NICK  
Or dealing with some serious road rage.

They start down the embankment toward it. A pair of paramedics rush past with Jason, but the CSI have never met him and don't recognize him. The child is crying so hard that no one can understand that he's screaming for Henry.

CATHERINE  
That's the seventh child this  
idiot's sent to the hospital tonight.  
I hope that one's luckier than the  
others were.

Closer they can see the plates are Ohio. Neither makes the connection to Henry.

NICK  
Have you noticed that all of the  
cars have been out of state? Do you  
think this person's targeting  
people out of state?

CATHERINE  
That was my thought at the last scene.

**BRASS** comes around the car speaking to a patrolman. He's carrying two plastic bags. The patrolman leaves as the two approach him.

CATHERINE (CONT'D)  
Turning into a long night, huh?

BRASS  
If we don't catch this guy I'm quitting.

The CSI chuckle.

NICK  
What do we have?

BRASS  
Driver and passenger are dead. The  
little boy was luckier.

Brass motions up to the ambulance that's leaving.

BRASS (CONT'D)  
The medics were pretty sure he'll  
make it. They bagged the vic's  
wallet and purse for you two.

Brass holds up the bags.

CATHERINE  
There's a patrolman right behind  
us. He's collecting them and  
delivering them to Mandy so she can  
contact next of kin.

BRASS  
Will do.

NICK  
(to Catherine)  
I'll take skids if you want the car  
this time.

At the top of the embankment a **PATROLMAN** appears.

Patrolman

Detective Brass. We have another four.

The news sickens Brass. He looks at the two.

BRASS  
Work faster. I want this bastard in jail.

They nod, watching him leave. Catherine walks over to the passenger door and crouches down, staring at the now deceased Rachel. Catherine's not supposed to touch the body, but she closes the woman's eyes before she starts processing.

Catherine starts working at the back. She pulls out a Spiderman backpack and opens it. It's full of books, toys, and a Gameboy and games.

She notices a keychain sized digital album dangling from a strap. Catherine turns it on and browses the pictures. Many of them are people she doesn't know, a few are Jason with his parents. It makes Catherine smile, until she comes to the ones of a familiar face.

Catherine fumbles for the cell phone on her belt.

INT. CSI - CHEM LAB - NIGHT

Reminiscent of Greg's lab rat days, Henry has off-the-wall music playing on the CD player and occasionally recites the lyrics. On the center counter are bags and containers of evidence from the accidents tonight. He picks up a bag and uses tweezers to pull red paint scrappings from it.

He prepares a slide and puts it under the microscope. Henry leans in to look at the slide a moment before Catherine walks in.

CATHERINE  
Henry.

Henry smiles when he glances up.

HENRY  
Hey, Catherine. Busy night, huh?

Henry turns back to the microscope.

HENRY (CONT'D)  
I've put some of these into the  
spectrograph and so far they're all  
Torch Red, which really doesn't  
narrow this down much, I know, but--

CATHERINE  
Henry, I need you to--

HENRY  
I know. I know. I'm behind on your  
B&E, but--

CATHERINE  
Henry, step away from the evidence  
right now!

Henry looks up, surprised by her outburst.

HENRY  
Have I done something wrong?

Catherine walks along the counter like she's approaching a feral dog.

CATHERINE  
(calmer)  
I need you to step away from the evidence.

Henry steps back as ordered.

HENRY  
What's wrong?

CATHERINE  
Your parents were visiting tonight,  
weren't they?

HENRY  
Yeah. That's why I asked to come in  
late tonight. Why?

CATHERINE  
Your parent's car was one that was  
run off US 95 tonight, Henry. I am  
so sorry... Your parents are dead.  
Your little brother is in the  
hospital and he's asking for you.

Henry stares at her. His head begins to slowly wag.

HENRY  
You're lying. This is a joke. This  
is a sick, sick joke!

CATHERINE  
I would never joke about something  
like this, Henry. You know that.

He's moved to denial.

HENRY  
No. No! They're fine. I'll prove it.

Henry pulls out his cell phone and dials a number.

INT. CSI - LAYOUT ROOM - NIGHT

Across the hall dozens of small boxes are scattered around a laptop. A variety of data cables lay nearby. Nick is downloading photos and video from the phones.

He looks up when a phone starts ringing. He puts boxes to his ear until he finds the one. He pulls out a phone with a bloody fingerprint is on the screen. On the screen the name HENRY displays but Nick doesn't connect the name to the lab tech.

INT. CSI - CHEM LAB - NIGHT

Henry hears the distinctive ring tone -- he knows the tune. He rushes across the hall into the room. Catherine tries to stop him but he pushes her aside.

INT. CSI - LAYOUT ROOM - NIGHT

Henry charges into the room and tries to grab the phone from Nick. The CSI jerks back, keeping it from Henry.

HENRY  
GIVE ME THAT!

NICK  
Back off!

HENRY  
GIVE ME THE PHONE, NICK!

The yelling draws the attention of other people in the lab and they stop to watch.

NICK  
BACK OFF! WHAT IS WRONG WITH YOU?

Henry grabs for the bag and his fingers hook into a corner. He tears open the bag and catches the phone as it falls. He turns it over as it stops ringing.

HENRY  
No... No, no, no...

Nick watches Catherine walk in. She pulls a glove from the box on the edge of the layout table and approaches Henry. She uses the glove to take the phone.

CATHERINE  
Let go, Henry.

He doesn't obey.

CATHERINE (CONT'D)  
Please let go.

Henry does. She hands it back to Nick. She slides her arm around Henry's shoulders and turns him toward the door.

CATHERINE (CONT'D)  
Let's go to the hospital. Your  
brother needs you.

Shock has made he complacent and he lets her guide him out. Nick looks at **MANDY** when she runs into the hall and stops, watching them pass. Nick walks to the door.

NICK  
Do you know what's got into him?

MANDY  
This road rage guy killed Henry's parents.

Nick looks at the phone in his hand. He turns and goes back to his computer. He digs through the phones, finding Harvey and Jason Andrews' phones to start working on them.

INT. SUNRISE HOPSITAL - ER - EXAM ROOM B - NIGHT

The faces of strangers are frightening monsters to Jason. He's crying hard, softly calling for Henry.

Henry pushes through the sea of monsters.

JASON  
HENRY!

He reaches for his brother, trying to get up. Henry grabs his hands, gently pushing Jason back on the bed.

HENRY  
Shhh. Lay still. Let them help you.

JASON  
Where's Ralph?

HENRY  
He's with a friend. He got hurt too.

JASON  
He can't get hurt. He's just a toy.

Henry smiles. He smoothes back Jason's bangs.

HENRY  
I know. I was just--

DOCTOR BAKER (O.S.)  
Mister Andrews.

Henry turns to **DOCTOR BAKER**.

DOCTOR BAKER (CONT'D)  
I'm Doctor Baker. I need to talk to you.

Henry turns back to Jason.

HENRY  
I'll be back faster than Spider Man, okay?

Jason nods. Henry follows her out into the ER.

INT. SUNRISE HOSPITAL - ER - NIGHT

DOCTOR BAKER  
CSI?

HENRY  
What?

She motions to his lab coat -- he never took it off when he left the lab. He glances at the embroidered patch.

HENRY (CONT'D)  
Lab tech. What's going on with my brother?

DOCTOR BAKER  
He has a fractured femur and three  
broken ribs. He was lucky. His grandparents--

HENRY  
Parents. They were our parents.

DOCTOR BAKER  
Oh. I'm sorry. Luckily, they  
strapped him in good. The  
anesthesiologist is on his way down  
to prep him for surgery. Does he  
have any allergies? Anything that  
might complicate using anesthesia?

Henry stares at her. He's suddenly hit with the realization his parents aren't there to answer questions like this. His eyes start to water.

HENRY  
I never took him to the doctor. I  
don't know.

She smiles.

DOCTOR BAKER  
Most kids don't have any problems.  
Why don't you wait with him?

HENRY  
How long will the surgery take?

DOCTOR BAKER  
Probably three to four hours.

HENRY  
When he goes in, I have to go back  
to work for a little bit.

DOCTOR BAKER  
Okay. I'll ask them to call you  
when we move him to his room.

Henry goes back into the room and sits down in a chair near the bed. He quietly comforts his baby brother.

INT. CSI - CORRIDOR - NIGHT

Nick passes the chem lab. He looks up and sees Henry working. He looks away, continuing for a few more steps. Then it hits him. He turns, staring at Henry. He walks back to the door.

INT. CSI - CHEM LAB - NIGHT

Henry scribbles on a notepad as he views a slide on the microscope. Behind him the spectrograph is running something.

NICK  
Hey, Henry.

Henry looks up.

NICK (CONT'D)  
Aren't you supposed to be at the hospital?

HENRY  
Jason's in surgery for a few hours.  
I needed something to do.

Nick approaches him. Henry covers his notes with a case file and leans in front of the microscope. That makes Nick suspicious.

NICK  
Are you supposed to even be here?

HENRY  
I work here, don't I?

Nick's suspicion grows.

HENRY (CONT'D)  
There was a stuffed dog in my  
parent's car. It's made out of  
pieces of cloth, one of its button  
eyes is missing. Do you have it?

Nick nods.

HENRY (CONT'D)  
Could you maybe push it through?  
It's one of our favorites.

NICK  
Our favorites?

HENRY  
I mean Jason's favorites. My  
brother's. He always sleeps with it.

NICK  
I'll see what I can do.

Henry nods. Then offers a plastic smile.

HENRY  
Well. Back to work, huh?

Nick doesn't move and neither does Henry. Nick nods a little, then turns and leaves.

INT. CSI - CHEM LAB - MOMENTS LATER

Catherine enters and grabs Henry's coat off the coat rack inside the door. She walks over to him as he's covering his notes and moving in front of the microscope. She reaches around him and switches off the microscope light, and she holds his coat out to him.

CATHERINE  
You broke protocol once by  
accident; the second time  
intentionally. I need you to  
understand that and leave. If you  
argue with me, I'm suspending you. Understand?

HENRY  
You can't--

CATHERINE  
Suspension? A week? Two? How long?

Henry stares at her. He glances at Nick standing outside the door. He's watching the floor, pretending to ignore them.

CATHERINE (CONT'D)  
Henry. Leave. Now.

He looks up at her.

HENRY  
I can help.

CATHERINE  
No, Henry, you can't.

He doesn't move. She squeezes his shoulder.

CATHERINE (CONT'D)  
We will find out who did this. We  
will have them arrested. They will  
go to trial. But do you know what a  
lawyer worth his or her salt will  
do if they found out you processed  
evidence on this case?

He doesn't answer.

CATHERINE (CONT'D)  
They will move to have the evidence  
considered omissible because you  
may have tampered with it to get a  
desired prosecution. Do you know  
what will happen then?

He slowly shakes his head.

CATHERINE (CONT'D)  
Your parent's killer will go  
unpunished. Is that what you want?

He shakes his head. She offers his coat to him again.

CATHERINE (CONT'D)  
Nick volunteered to take you to the  
hospital, and I do not want to see  
you back here again tonight. Understood?

He looks down at his coat. Henry stands, brushing her hand away. He pulls off his lab coat and exchanges it for his coat. Without speaking, he and Nick head down the corridor. Catherine watches them until they've turned a corner out of sight.

She looks at the lab coat, running her finger over 'Andrews' embroidered on it. She looks up as Greg passes by.

CATHERINE (CONT'D)  
Hey Greg.

Greg turns and comes back.

GREG  
Yeah?

CATHERINE  
What are you working on right now?

GREG  
Nothing right now. The next four  
cars won't be here for another  
hour. What's up?

Catherine walks over to the door. She hangs up Henry's lab coat with a certain amount of care -- Greg notices but he says nothing. She turns to him, locking eyes with him.

CATHERINE  
(hushed)  
Over there are Henry's notes.

She nods with her head in the general direction.

CATHERINE (CONT'D)  
Make his notes and test results  
your own. Then destroy all evidence  
he was ever on the case.

GREG  
Consider his work mine.

She pats his arm as she leaves. Greg grabs a lab coat from the rack and gets to work.

FADE OUT.

END OF ACT ONE


	3. Act Two

ACT TWO

FADE IN:

INT. CSI - GARAGE - NIGHT

Nick and Riley are working with one of the accident cars when a tow truck pulls up with a heavily damaged Torch Red 2008 Shelby GT. The **DRIVER** gets out and reads his clipboard as he approaches the two. Greg comes running into the garage.

DRIVER  
I'm looking for...

He pauses to flip a page.

GREG  
Me. CSI Sanders.

The man nods, handing him the clipboard.

DRIVER  
Sign here.

Greg scrawls his John Hancock and hands it back.

DRIVER (CONT'D)  
You want it in here?

Greg nods. As he moves out of the way, Riley and Nick bookend him.

RILEY  
I thought we had the last four cars?

GREG  
This is the killer's car. The State  
Patrol found it wrapped around a  
telephone pole near Beatty.

RILEY  
Our first break!

Nick pats Greg on the shoulder.

RILEY (CONT'D)  
Good job, Greg.

Greg smiles. The driver drops the car and leaves. Greg walks over, pulling on work gloves. He grabs a door and tugs. Then tugs again. Riley and Nick chuckle. Nick walks over.

NICK  
Move, Dorothy.

Nick grabs the handle and in one tug, opens it.

NICK (CONT'D)  
You want me to get the other one too?

GREG  
Sure. Then you can process that side too.

Nick doesn't object. Riley joins them.

GREG (CONT'D)  
Looks like our road rage killer  
wasn't concerned about us finding him.

**CSI SHOT**

**Greasy fingerprints on the steering wheel. A couple short brunette hairs on the seat.**

BACK TO SCENE

Nick runs his light over the passenger side interior.

**CSI SHOT**

**Picks up several long auburn hairs. A wad of gum stuck to the floor. Broken whiskey bottle.**

BACK TO SCENE

NICK  
Looks like we'll have to hunt down  
two people.

INT. SUNRISE HOSPITAL - PEDIATRICS - ROOM 712 - NIGHT

Henry stands at the window staring out at Las Vegas. Bandaged and bruised, Jason lies in the bed behind him. He wakes up and stares at Henry for a long time before speaking.

JASON  
Henry?

His big brother turns and moves to the bed.

HENRY  
Hey kiddo.

JASON  
Where's Mommy and Daddy?

Henry looks out at Las Vegas, as if the city can help answer that question.

HENRY  
You can see most of Las Vegas from  
your room. I'll have to show it to  
you when you get out.

JASON  
Where's Mommy and Daddy?

Henry doesn't know how to answer the question. Jason starts crying.

JASON (CONT'D)  
Why aren't they here, Henry?

With a deep breath and a slight lack of compassion, Henry answers.

HENRY  
Jason... Do you remember when we  
all went to Florida to say good-bye  
to Grandma Irene?

That makes Jason cry harder.

JASON  
They're dead?

Henry nods, fighting with his own tears.

JASON (CONT'D)  
Mommy and Daddy are dead?

HENRY  
Yes.

JASON  
No! NO! THEY AREN'T! YOU'RE LYING!  
LIAR! LIAR! LIAR!

Jason tries to get up and jars his broken ribs. He starts wailing. Henry grabs his hands, trying his best to comfort the distraught child. The commotion brings in **NURSE GINNY**.

NURSE GINNY  
What happened?

HENRY  
Nothing.

NURSE GINNY  
Why is he crying like that?

Henry can't remain calm in the face of this and her interrogation.

HENRY  
I just told my six-year-old brother  
his parents are dead! Why the hell  
do you think he's crying like this?

He regrets his reaction almost immediately.

NURSE GINNY  
I'm sorry.

HENRY  
No. It's okay. Jason, does your  
side or leg hurt? Do you want the  
nurse to get you anything?

Jason just keeps screaming and crying.

NURSE GINNY  
I can give him something to help  
him relax. I'll be right back.

She leaves. Henry moves closer and tries to soothe Jason. Nothing short of drugs can calm the child. Nurse Ginny comes back with a syringe. She injects the fluid into Jason's I.V. and it works in seconds.

JASON  
(fading)  
I want my Mommy.

Henry leans close, rests his forehead against Jason's. Now that Jason's asleep he allows himself to cry.

HENRY  
Me too, Little Man. Me too.

NURSE GINNY  
(distant)  
Can I get you anything, sir?

Henry doesn't answer her. She rubs his shoulder before she leaves. Henry's phone beeps for a waiting text message. He pulls it off to read the screen: SUSPECT IN CUSTODY. INTERROGATING NOW.

HENRY  
(whisper)  
I swear to you, Jas, this person won't get away.

Henry kisses his brother's temple and then leaves.

INT. OBSERVATION ROOM - NIGHT

Catherine and Nick are watching the interrogation of **MIKE BRAUN** behind the one-way mirror. He's (mostly) sober now. He's in his late twenties, but he dresses, acts, and talks like a 60's Hippie. He doesn't have a care in the world, including killing all the people he did tonight.

BRASS (over speaker)  
...And you want me to believe that  
you, alone, killed all fifty people  
and you don't care?

MIKE BRAUN (OVER SPEAKER)  
Yeah, baby. It's like a zen thing.  
I kill them, I don't care, they  
cancel each other out.

Nick shakes his head.

NICK  
That is one thick skinned son of a bitch.

Catherine doesn't respond.

BRASS (ovER SPEAKER)  
Oh yeah? Explain to me how exactly  
that works?

HENRY (O.S.)  
Maybe this would help soften him up?

The two turn. Henry stands behind them holding out a photograph of Jason.

CATHERINE  
You're not supposed to be here, Henry.

Henry walks up to Catherine.

HENRY  
Just show this to him, Catherine.

CATHERINE  
Henry, we'll handle this. You have  
to leave.

HENRY  
Please. Just take it and try. Please.

CATHERINE  
No. Leave, Henry.

HENRY  
I can't leave until he knows what he did.

The race is on as to who will lose their patience first.

CATHERINE  
Knows what, exactly?

HENRY  
That he orphaned a six-year-old.

CATHERINE  
Your brother has you, he's not  
orphaned. And it is against protocol  
for you to be even be in this room;  
you have to leave.

Henry loses it first.

HENRY  
You hypocrite!

His insult doesn't sit well with Catherine.

CATHERINE  
Excuse me?

HENRY  
Do you have any idea how many times  
I have lied to cover you and your CSI's  
ass when you've breached protocol?  
And now I just want you to bend it  
just a little, just see if this  
picture will loosen his tongue, and  
you throw 'it's against protocol'  
at me? YOU ARE A HYPOCRITE!

Catherine and Henry angry at each other puts Nick on edge. But Catherine doesn't blow up. She holds her hand out for the photograph and Henry hands it over.

CATHERINE  
You will stay in this room with  
Nick and you will not interfere.

She leaves, shutting the door behind him a little too hard.

INT. INTERVIEW ROOM A - NIGHT

Catherine walks in during a lapse in the questioning and sits next to Brass. He slides the photograph in front of Mike.

CATHERINE  
This is one of your victims. He's  
six. He and his parents were just  
visiting. Your stunt tonight killed  
his parents, and put him in the hospital.

Brass glances at the photograph but says nothing. Mike picks up the photo, looks at it, then tosses it back to Catherine with a grin.

MIKE BRAUN  
Cute kid. Too bad for his loss.  
I'll have to tell the others.

That peaks CSI and Detective's interest. Has the photograph actually worked?

BRASS  
The others?

Mike laughs, throwing his head back.

MIKE BRAUN  
This is such a radical trip, man.  
Yeah, baby. I got these people  
walking around in my head. They  
tell me what to do all the time.  
Are we done here? I gotta show I'm  
missing, baby.

BRASS  
You aren't going anywhere, _baby_.  
The evidence tells us there was  
someone else in the car with you.  
You really want to go down for all  
fifty counts of vehicular homicide alone?

MIKE BRAUN  
Sure, baby! I did my part in cleaning  
up the state of all those dirty tourists.

He laughs. Brass and Catherine look at each other when they hear someone start yelling outside the room. Catherine leaves and in the hall. It's obvious the yelling is coming from the observation room. Langston is coming up behind her. As she turns into the room, she sees Ecklie runaround the corner. She had to get a handle on this.

INT. OBSERVATION ROOM - NIGHT

Nick has Henry pinned against the wall. The lab tech has lost it.

HENRY  
Let me go! Let me go! I'm going to  
kick his ass!

**ECKLIE** and Langston stop behind Catherine, watching the crazed lab tech.

NICK  
Henry stop it! Calm down! Come on!  
Calm down, man!

Ecklie lifts a finger, starting to speak. Catherine grabs his arm and shakes her head. She turns and closes the door.

ECKLIE  
Catherine, what is wrong with him?

HENRY  
He doesn't even care! He won't go  
to jail unless he confesses!

Henry lunges for the door. Nick gets a new purchase and with an arm under his chin he shoves Henry against the wall again.

CATHERINE  
Henry's having a really rough night.

Catherine walks up to Henry and slaps him hard, surprising everyone. But it effectively calms Henry down.

CATHERINE (CONT'D)  
Do I have your attention now?

He slowly nods.

CATHERINE (CONT'D)  
Henry, tonight has been a disaster--

HENRY  
A disaster? You call what happened  
tonight a disaster?

CATHERINE  
It's worse than a disaster, I  
understated that, but, Henry, you  
cannot be here.

HENRY  
That guy has to be convicted!

Henry points at Mike Braun.

CATHERINE  
Henry, have you even been to the  
morgue tonight?

Again another shocker for the men, but the question effectively derails Henry's focus.

HENRY  
What?

CATHERINE  
Have you been to the morgue? Have  
you identified and claimed your  
parent's bodies yet?

HENRY  
No.

CATHERINE  
Are you having your parents buried  
here or are you sending them back  
to Ohio?

HENRY  
I don't know. Why?

CATHERINE  
When does Jason get out of the  
hospital? Have you considered where  
you two are going to live? That one  
bedroom apartment isn't an option.  
Have you thought about how you're  
going to adjust your schedule for a  
child in your life? Have you--

HENRY  
No! But that guy--

CATHERINE  
My God, Henry!

Catherine moves in and Nick backs off, letting her take over. She lays her hands on Henry's shoulders.

CATHERINE (CONT'D)  
You cannot deal with an investigation  
right now! You have far more  
important things to deal with.

He starts to cry.

CATHERINE (CONT'D)  
You and Nick are going to the  
morgue where you are going identify  
and claim your parents and collect  
their belongings. Maybe you'll ask  
Doc Robbins or David to help you  
with the funeral arrangements?

Henry nods.

CATHERINE (CONT'D)  
When you're done, you should ask  
someone of them to walk you out of  
the building to make sure you get  
in the right car. Then you're going  
back to the hospital.

He nods again.

CATHERINE (CONT'D)  
Jason will appreciate that. And  
meanwhile, we're going to figure  
out how to put this guy away for  
you. You'll see. We may not have  
your smarts, but we're sneaky. You  
have some good plans, know that, Henry?

In his emotional state, Henry doesn't even notice that she flipped ownership of the plan. He numbly nods.

HENRY  
Thank you.

She moves back.

CATHERINE  
So you're going to introduce Nick  
to your parents right now?

Henry nods.

CATHERINE (CONT'D)  
Okay. And in two weeks we'll see  
you back here. Right?

Another head nod

NICK  
Introduce me to your parents, Henry.

Henry and Nick leave.

ECKLIE  
Catherine, he's not even supposed  
to be in the lab if--

CATHERINE  
I have it under control, Conrad.  
Thank you.

ECKLIE  
That didn't look like control. You  
need to suspend him. If I were his  
supervisor, I would have--

CATHERINE  
But you're not, are you? I am.

ECKLIE  
Look, I know you hired him but--

CATHERINE  
My hiring him has nothing to do  
with this!

ECKLIE  
Then what is it?

CATHERINE  
(smirks)  
You never read his personnel file,  
did you?

She is successfully disarming one more bomb tonight.

ECKLIE  
What in there would have changed my  
mind about firing him?

CATHERINE  
Oh... Maybe you'd have seen he's  
twenty-one. You might have read  
something like he graduated with a  
doctorate in chemistry and forensic  
toxicology when he was sixteen. Or  
that he's been in Mensa since he  
was seven. Or that he's five  
classes away from a second  
doctorate.

Ecklie is impressed, but it doesn't entirely smooth things over.

ECKLIE  
While those are all good reasons to  
keep him, if he comes in here and  
starts acting unprofessional again,  
I will fire him.

She throws up her arms.

CATHERINE  
For crying out loud, Conrad! The  
kid's parents were murdered tonight!  
On top of that the world suddenly  
expects him to be his brother's  
father. He needs moral support, not  
fired! And because he is an amazing  
toxicologist and chemist, I won't  
let you. That kid is too valuable  
to my team to let him go just  
because he is reacting to a really  
crappy night!

Ecklie doesn't speak right away.

ECKLIE  
Okay. You win. I won't touch him.

Ecklie walks out. Catherine sighs, leaning against the wall.

LANGSTON  
Catherine?

She looks up at him, smiling.

CATHERINE  
I'm sorry, Ray. Did you need something?

LANGSTON  
Oh. No. I came because I heard  
Henry yelling. I was curious  
though... The boy is working on his  
second doctorate?

She nods.

LANGSTON (CONT'D)  
May I ask in what fields?

CATHERINE  
He's going for a double major;  
forensic entomology and forensic  
identification. He'll be our new  
bug guy.

Langston smiles, looking into the interrogation room. Brass is still trying to break Mike Braun.

LANGSTON  
Henry is very quiet about his  
intellect, isn't he?

CATHERINE  
When I hired him he said he'd lived  
all his life being judged because  
of how smart he was, and asked that  
I didn't tell anyone about his  
credentials. He's always been very modest.

Langston smiles at her.

LANGSTON  
But it was those credentials that  
convinced you to hire him?

CATHERINE  
It was that and his happy-go-lucky  
attitude. Tonight was the first  
time I've ever seen him upset.

LANGSTON  
How unfortunate he had a good  
reason to be.

CATHERINE  
Yes it is. Which is why we're going  
to find a way to nail that guy to  
the wall. For Henry.

Catherine points at Mike Braun as she leaves the room. Langston turns, watching the interview.

FADE OUT.

END OF ACT TWO


	4. Act Three

ACT THREE

FADE IN:

INT. SUNRISE HOSPITAL - PEDIATRICS - ROOM 712 - DAY

Catherine enters carrying a coloring book, a new box of crayons, and Ralph. Covered with a blanket, Henry has curled up in a recliner in the corner. Jason appears to be sleeping. She walks over to the bedside table and sets the crayons and book down. She turns and finds Jason watching her.

CATHERINE  
Hi.

He stares at her. She places Ralph next to him and he immediately clutches it. She pats the dog's head.

CATHERINE (CONT'D)  
His name is Ralph, right?

He nods.

CATHERINE (CONT'D)  
Sorry it took so long. We had to  
talk to him about what he saw last  
night. He's quite the talker. Did  
you know that?

JASON  
He can't talk human languages.  
Henry and I are the only two in the  
world that can speak it.

CATHERINE  
That's very cool.

JASON  
No. Who are you?

CATHERINE  
My name is Catherine. I work with  
your brother.

JASON  
Do you find bad guys too?

CATHERINE  
I do.

JASON  
Are you going find the bad people  
that killed Mommy and Daddy?

CATHERINE  
We've already arrested both of them.

JASON  
Only two?

CATHERINE  
Yes. There were only two.

JASON  
No. There were others.

The question throws Catherine. She sits on the edge of the bed.

CATHERINE  
How many did you see?

FLASH TO:

**INT. ANDREW'S CADDY - NIGHT (RE-ENACTMENT)**

**Suddenly the Shelby crashes into Harvey's side. He veers the car left. Jason stares wide-eyed out the driver's side. He can see Alicia Trevers in the passenger seat. They pass under a streetlight and he sees Mike Braun. **

**JASON (V.O.)  
There was a man and a woman in the  
car on dad's side.**

**Rachel screams. Jason turns his head as an identical Shelby crashes into the passenger side.**

**JASON (V.O.) (CONT'D)  
And in the other car I saw two for  
sure, but I think there were more.**

**BACK TO SCENE**

CATHERINE  
I bet it looked like there was more  
the way they were moving around  
your car.

JASON  
(offended)  
No. There were two cars, Catherine.  
One had a man and woman and the  
other had two men.

She nods, taking him serious again.

CATHERINE  
Can you tell me how you know that  
they weren't the same person? It  
was dark.

JASON  
The driver was wearing glasses that  
glowed neon green. And the other  
guy had a flashlight and he was  
making scary faces.

**INT. ANDREW'S CADDY - NIGHT (RE-ENACTMENT)**

**The driver on Rachel's side now wears glowing neon green glasses. Laughing wildly like a Mad Max character. Behind him a man with a dark beard shines a light on his face, under his chin.**

**BACK TO SCENE**

His description surprises her.

CATHERINE  
Can you tell me what a scary face  
looks like?

Jason pretends to hold a flashlight under his chin and makes a face.

**INT. ANDREW'S CADDY - NIGHT (RE-ENACTMENT)**

**JASON (V.O.)  
He had the flashlight here and he  
made a face. He also had a beard. I  
can't tell you what color it was but  
it was dark. Maybe brunette or black?**

**The man makes a face made even more hideous by the ominous glow of his flashlight. To Jason's memory, it's as scary as a Freddy Kruger.**

**BACK TO SCENE**

CATHERINE  
You know a lot about different colors.

HENRY (O.S.)  
Jason's in fifth grade and Mensa.  
He knows a lot.

She looks up, watching Henry walk along the bed. He smiles as he takes Jason's hand.

JASON  
Ralph is here.

HENRY  
I see that.

CATHERINE  
Do you remember what the other car  
looked like? Was it red?

He nods.

**INT. ANDREW'S CADDY - NIGHT (RE-ENACTMENT)**

**The cars start hitting the Caddy back and forth like a ping-pong ball. Harvey struggles to keep it on the road.**

**JASON (V.O.)  
They were identical. One hit Daddy's  
side, and then one hit Mommy's side.  
There wasn't enough time between  
the hits for there to be only one  
car. It had to be two. And then...**

**BACK TO SCENE**

Jason starts crying. Henry pats his brother's hand.

HENRY  
You don't have to tell anymore,  
kiddo. You've already been a  
great big help.

Jason looks at Henry.

**INT. ANDREW'S CADDY - NIGHT (RE-ENACTMENT)**

**Harvey loses control of the car. The Shelby's disappear from sight. The car tips at the edge of the embankment and rolls.**

**JASON (V.O.)  
I got confused how many times the  
car rolled. **

**Sometime during the roll, the steering wheel airbag ruptures and the steering wheel crushes Harvey's chest. He's killed instantly. Rachel's back is broken. She's battered by contents in the car, causing internal bleeding she'll never survive. **

**Jason screams and cries. He's hit in the head by flying objects. His leg is broken. The straps his brother fastened break three ribs as they save his life.**

**JASON (V.O.) (CONT'D)  
When it stopped rolling Daddy never  
talked to me again. But Mommy did.**

**The car stops moving. On the highway two cars pull onto the shoulder and Good Samaritans jump out, running down the embankment to help. They won't make it in time for Rachel.**

**RACHEL  
(whisper)  
Jason? Baby?**

**JASON  
Mommy!**

**Jason reaches out to her. She can't see him. She can't see anything as she dies.**

**RACHEL  
Jason... Police are coming now. You  
ask for Henry. Ask for Henry, Jason.**

**JASON  
I want you Mommy!**

**RACHEL  
And tell Henry... Tell Henry our  
secret, Jason. Tell him how... How...**

**JASON  
Mommy! Help me, Mommy!**

**She doesn't speak again. Jason goes into hysterics. **

**A Good Samaritan appears at the passenger side, finds her dead. He moves in through the broken back window to try and comforting Jason.**

**BACK TO SCENE**

HENRY  
What was you and mom's secret?

JASON  
Because Daddy gets so mad when we  
talk about you moving to Las Vegas,  
she made me promise never to tell  
him that she was proud of you. She  
says you're an adult and Daddy  
needs to get over it.

Catherine and Henry chuckle a little. It encourages a little smile from Jason.

HENRY  
Thank you for telling me your secret.

Catherine pats Jason's good leg.

CATHERINE  
I'm going to ask this artist friend  
of mine come visit with you. You  
can tell her what these two guys  
looked like and she draw us a  
picture of them. Is that okay?

JASON  
Those are called sketch artists.  
Henry told me that.

CATHERINE  
That's right! It's okay then?

Jason nods.

CATHERINE (CONT'D)  
I'll go call her right now. Can I  
borrow Henry for a just a few  
minutes?

JASON  
For an adult conversation?

CATHERINE  
Yeah. We adults are like that.

JASON  
Okay.

Catherine gets up and the two go out to the hall.

INT. SUNRISE HOSPITAL - PEDIATRICS - CORRIDOR - DAY

She turns to Henry.

CATHERINE  
I filled out the papers for three  
weeks of bereavement. You still  
have a month of family time, so if  
you need it, just call. I'll make  
all the arrangements.

HENRY  
Thank you. About earlier--

CATHERINE  
Don't worry about it, Henry. I  
understand. You just take care of  
you and Jason right now.

She pulls an envelope from her back pocket, handing it to him. He takes it and opens it. An assortment of bills is inside, over three hundred. He looks up at her.

CATHERINE (CONT'D)  
We thought you might need help with  
the plane tickets. That's from everyone.

He's speechless. She pats his arm and heads down the hall.

HENRY  
Thank you. Tell them thank you.

CATHERINE  
Will do. Good night, Henry.

HENRY  
Night.

**MICROSCOPE POV**

**The view is blurry, but slowly it comes into focus on a single, strand of hair. The view enlarges and the hair moves to the tag.**

**In the background footsteps approach and someone clears their throat.**

**GREG (O.S.)  
Evening, Catherine.**

CUT TO:

INT. CSI - LAB - NIGHT

Catherine stands next to Greg, who is looking through the microscope. Greg doesn't look up from his work.

CATHERINE  
I have something I need you to do  
right away.

Greg turns on his stool, facing her.

GREG  
There's a rumor that you fired Henry.  
Please tell me you didn't do that.

CATHERINE  
No.

GREG  
Good. Cuz since Grissom's left,  
he's become the new go to man. He  
seems to have answers to all sorts  
of crazy stuff.

CATHERINE  
I'm sure his two doctorates have  
something to do with that.

That surprises Greg.

GREG  
Two doctorates? He's like twenty-one!

CATHERINE  
Twenty-three. Greg, I need you to  
do something for me.

GREG  
Shoot.

CATHERINE  
Search for another stolen Torch  
Red, 2008, Shelby GT. Expand it to  
all of Nevada and surrounding states.

GREG  
Okay. How many surrounding states?

CATHERINE  
To the coast, Canada and Mexico  
borders. No further than Colorado,  
Wyoming, or New Mexico.

GREG  
And Montana?

CATHERINE  
Yes.

GREG  
You think there was a second  
vehicle involved?

CATHERINE  
Henry's brother says he saw a second.

GREG  
Oh. Okay.

Greg moves to a computer to start searching for the information.

CATHERINE  
Let me know what you find.

She turns to leave.

GREG  
Did you know that Jason's already  
in Mensa? And he's only six! What  
I'd give to be as smart as those two.

Catherine smiles, leaving.

INT. CSI - MEETING ROOM - DAY

Reports, photographs and the artist's sketches are scattered across the table. Riley, Nick and Langston are combing through it, looking for a hint of anything to prosecute their suspect or locate the suspects at large. Greg comes in waving a piece of paper.

GREG  
I found a second stolen Shelby. It  
was stolen from a lot in Bullhead  
City, Arizona. Never recovered. So  
I got to thinking about this...

Greg falls into an open chair.

GREG (CONT'D)  
They clearly didn't steal these for  
chop or to ship out of country. So  
why did they steal them? And why  
two identical cars? That doesn't  
make sense.

RILEY  
That is a good question.

NICK  
Because it was a race.

LANGSTON  
A race?

NICK  
Yeah. Like playing mailbox  
baseball. 'Cept instead of hitting  
mailboxes, they were hitting cars.

RILEY  
What's mailbox baseball?

NICK  
You really needed to get out more  
as a teenager.

Langston is amused by their conversation.

GREG  
It's when someone takes a bat and  
hangs out the window of a car. They  
take a swing at each mailbox they  
come at. The one that knocks the  
most off, wins.

NICK  
See? He knew.

GREG  
I saw it on a movie.

Riley smirks at Nick.

GREG (CONT'D)  
So Jason was right.

RILEY  
Who's Jason?

NICK  
Have you even been working this case?

RILEY  
Yes I have. Who's Jason?

GREG  
Henry's little brother.

RILEY  
The kid is six! We're searching for  
another car based on the eye  
witness account of a kid?

NICK  
That kid's as smart as me. I trust  
what he saw.

LANGSTON  
Jason's IQ exceeds the average  
person's. I believe he is smarter  
than you, even at age six.

NICK  
I asked Henry what Jason got on his  
Mensa test. His score was only three  
points higher than mine, so I'm pretty  
confident he's as smart as me.

Nick's untold secret stuns everyone into silence. Catherine walks into the room and slows to a stop.

CATHERINE  
Did I just miss a real good fight?

GREG  
Nick's in Mensa.

CATHERINE  
So is Greg, Langston, Henry, and  
Scotty on day shift. Just don't tell  
Hodges that. He got in last month.

Catherine sits in an open chair.

GREG  
Hot Scotty?

CATHERINE  
That's the one.

LANGSTON  
How long have you been in Mensa, Nick?

Nick blushes.

NICK  
It was nothing. Boring really.

Catherine starts laughing.

RILEY  
No. I think we need to hear it now.

Nick blushes more.

NICK  
Naw. Later.

GREG  
Oh no. We need it now.

Nick shakes his head.

CATHERINE  
Come on, Nicky. Tell them how  
Nicholas Stokes ended up being in  
Mensa. It's a good story.

Nick hesitates.

NICK  
I was CSI 1 and Warrick tells me  
that we're coming up on promotion  
time, but that only CSI in Mensa  
get promoted. He had a few months  
up on me so I believed him. So I  
studied and went and took the test.  
Blew it out of the water on the  
first try.

The three start laughing, already seeing where this story is headed.

NICK (CONT'D)  
I get my results and take them to  
Grissom. He's impressed, says I was  
only a few hundred under him on the  
score, then asks what prompted me  
to take it. I tell him I really  
wanted the promotion and that I'd  
been told that I had to be in Mensa  
to get it.

GREG  
And that's when you found out  
Warrick was pulling your chain?

Nick nodded.

CATHERINE  
That was the quietest week in this  
lab. Warrick thought it was funny,  
Nick wouldn't speak to him. Grissom  
finally smoothed it over by  
promoting them both.

GREG  
Good thing I was already in it when  
I started. Makes getting my  
promotions easier.

LANGSTON  
Mine as well.

RILEY  
I guess I'm screwed then. I don't  
have a snowballs chance in hell of  
getting in.

The group laughs.

CATHERINE  
So where are we on this?

RILEY  
Two identical stolen cars and the  
murder suspects playing mailbox  
baseball with cars.

GREG  
Since the first car was wrecked, I  
talked to State Patrol to see if  
they had found a second. Nothing So  
I rolled with anther hunch and  
started calling the local junk  
yards and--

NICK  
I bet those were some great  
conversations at  
(checks his watch)  
three in the morning.

Riley takes the paper Greg brought in to look at the list.

GREG  
Surprisingly, most were already up,  
but they weren't helpful. Did you  
know that this car is one of the  
more popular ones to be totaled?  
Anyway. There's nineteen yards that  
take them, only two had just one or  
two, the rest had more, and they  
weren't cooperative about getting  
me the VIN numbers. All of them  
told me to show up with a warrant  
and they'd let me look myself.

Catherine lets out a disbelieving chuckle.

CATHERINE  
I'll get your warrants. You four  
divide up the list.

Catherine picks up the sketches and departs. After she leaves Greg pulls the paper from Riley.

GREG  
I call the first four.

She takes it back.

RILEY  
What are you? Five?

GREG  
No, but I grouped them by  
proximity. Saves gas.

RILEY  
Oh. I'll take--

Greg stands.

GREG  
Nick can have the last three.

NICK  
(suspicious)  
Why?

GREG  
Why not?

NICK  
Nu-uh. I know you. You got some  
reason for sending me to the last three.

GREG  
No I don't. The nicest one was in  
the last three.

Greg leaves before Nick can shoot back an argument. He looks at Riley and Langston. They're waiting for his decision.

NICK  
Give me the last three.

Riley hands him the paper so he can copy the addresses.

FADE OUT.

END OF ACT THREE


	5. Act Four

ACT FOUR

FADE IN:

EXT. MAIN GATE JUNKYARD - DAY

Nick pulls up to the gates. Dawn bathes everything in rose-colored light. He gets out, carrying a warrant in hand and goes through a side gate to the office door. He pulls off his sunglasses as he steps inside.

INT. MAIN GATE JUNKYARD - OFFICE - DAY

The office is a patchwork of different ideas of repair. On one side is a counter with a wing that lifts at the end to let people through.

An old woman sits at the counter reading a newspaper. Age has not been kind to **SALLY** whose lips curl in where once there were teeth. At her elbow sits a large thermal mug of steaming coffee. She doesn't acknowledge that Nick's entered until she demands in a painful scratchy voice:

SALLY  
What'd'ya want?

She turns a page. Nick smiles, hooking his sunglasses on his vest pocket.

NICK  
Morning, ma'am. I'm looking for  
Sally Banyon. I'm Ni--

SALLY  
I don't care who you are. What'd'ya want?

NICK  
I'm looking for a wrecked car.

Now she looks up at him.

SALLY  
No shit? Is that why you're in a junkyard?

Nick lets out a soft chuckle -- more for his benefit.

NICK  
Well, I'm looking for one in  
particular. Look, I'm from the  
crime lab and--

SALLY  
LARRY!

Nick winces from the yell. She leans on her paper, holding her hand out.

SALLY (CONT'D)  
Warrant.

Nick hands over the warrant. She puts on a pair of thick lensed glasses that enlarge her eyes.

Behind Nick, **LARRY** the giant emerges. He wipes his hands on an oil rag, making his mammoth sized muscles flex. He stops next to Nick. The CSI turns and slowly looks up the towering Krull-look-a-like. Nick offers a nervous smile, and then turns his attention back to Sally.

SALLY (CONT'D)  
Uh-huh. I see. Larry, take him out  
to that Shelby.

Larry walks to the door and opens it for Nick.

NICK  
Actually, I need to look at the--

SALLY  
Are you with that smart ass kid  
that woke me up two hours ago? Said  
you guys were looking for a stolen  
Torch Red, 2008 Shelby GT? Said it  
was involved in all those cars that  
was run off the road last night?

NICK  
Yeah, but--

SALLY  
Then stop talking and follow Larry.  
Hate you cops.

NICK  
Actually I'm a CSI.

Sally rips off her glasses.

SALLY  
OUT!

Nick follows Larry out.

EXT. MAIN GATE JUNKYARD - DAY

They start across the junkyard.

NICK  
She always so friendly?

Larry looks down to Nick. Despite his size, he is a soft spoken man with excellent dictation reflecting his highly educated background.

LARRY  
She is my mother.

Nick looks away. Oops.

NICK  
Nice lady. Real pleasant.

Larry shrugs.

LARRY  
Not really.

He points ahead.

LARRY (CONT'D)  
This is the car your co-worker  
inquired about. I wish you had called  
earlier. Mother scheduled it for  
recycle as soon as we received it.

Nick looks ahead and stops short. The now cubed Shelby sits on the ground in front of him. The CSI lets out a long sigh.

NICK  
Was the VIN recorded before it was compacted?

LARRY  
Yes. It matches the one you are looking for.

NICK  
Could I get it transported to the CSI garage?

LARRY  
How many children were killed last night?

NICK  
What does that have to do with this?

LARRY  
If you want it transported, I will have  
to prey on mother's compassionate side.

NICK  
Eleven.

LARRY  
Wait here.

Larry heads back to the office.

NICK  
Larry.

He stops and turns.

NICK (CONT'D)  
I don't suppose you or your mother  
could give us a description of who  
dropped this off, could you?

LARRY  
I have something better than  
a description.

Larry walks away without explaining. Nick turns, putting his hands on his hips as he stares at the cube of metal. This was not the end he'd hoped for.

INT. CSI - GARAGE - DAY

Larry backs a flatbed tow truck into the garage with the cubed Shelby now wrapped in yards of plastic. The CSI stand at the back watching. Nick walks in through a side door and over to Catherine, handing her a Polaroid picture of the driver with the Shelby before it was compacted.

NICK  
I told Sally that Greg and I would  
provide four hours of free labor  
for this--

GREG  
What!? I--

NICK  
--so treat it like gold Catherine  
because spending four hours with  
that woman will be like eight hours  
on a trash dump.

Catherine takes the photograph.

CATHERINE  
Thank you. Remember to take it  
apart slowly. There's evidence  
everywhere now.

She leaves them to deal with the compacted car. Larry gets out and uses the electric winch to lower the square to the floor. Nick turns back to watch.

GREG  
Why did you volunteer me for that?

NICK  
Because you lied to me and said she  
was nice. And for that, Greggo, you  
get to spend four hours with that  
wonderfully cheerful and friendly woman.

Greg doesn't return Nick's smile. Nick waves to Larry as he leaves and the CSI dive into pulling the car apart in search of evidence.

INT. CSI - A.V. LAB - DAY

Catherine watches the computer software moving points around the scanned image of the Polaroid. **ARCHIE** comes in talking on his cell phone. He hangs up as he sits down next to her.

ARCHIE  
This could take a while.

CATHERINE  
I'll wait.

The two are silent for a moment.

ARCHIE  
There's a rumor you fired Henry after  
he caused a scene over the suspect.

CATHERINE  
Just a rumor, Archie. He's on  
bereavement leave.

ARCHIE  
That's good to hear.

CATHERINE  
Is he your go to man too?

Archie smiles.

ARCHIE  
Naw. We're just good friends.  
Henry's a good guy, Catherine. He  
always gets embarrassed when I call  
him Doctor Andrews. That man could  
never be accused of being to prideful  
or boastful, that's for sure.

Catherine looks at Archie, but he's focused on the screen.

CATHERINE  
You're the first person I've spoken  
to that even knew he has a doctorate.

ARCHIE  
We hang a lot. But don't let that  
big mind fool you. I haven't found  
a video game or sport that he can't  
play. And do not play poker and Black  
Jack with him. He won't play for  
money, but he'll still whip you.

Catherine laughs.

CATHERINE  
I'll keep that in mind.

The screen populates with a person's profile.

ARCHIE  
Gotta hit. Anthony Craig.

Catherine looks back. She grabs the mouse and scrolls through the list. She stops at one: GRAND THEFT AUTO. Catherine gives the screen an angry smirk as she dials a number.

BRASS (ON PHONE)  
Brass.

CATHERINE  
We have another suspect. Anthony  
Craig. Last known residence is 1576

Tahoe Drive.

BRASS (ON PHONE)  
I'll have him here in the hour.

INT. INTERVIEW ROOM A - DAY

**ANTHONY CRAIG** slouches in his chair, staring at the ceiling through green tinted lenses in neon green frames. He's dressed like a neon sign. Brass and Catherine enter, but he ignores them. Catherine sets the folder she's carrying on the table as she sits down.

BRASS  
Anthony Craig, you just can't keep  
your paws off other people's cars,  
can you?

Anthony laughs, dropping his head.

ANTHONY CRAIG  
Cars aren't for sitting around,  
man. They're for driving fast!

BRASS  
Is that why you boosted a 2008  
Shelby GT?

ANTHONY CRAIG  
A car that sweet is made to cruise.

Catherine presents him with a blown up photo of the Polaroid.

CATHERINE  
Is this you? And the Shelby?

Anthony lifts his glasses to look at the photo. He drops them back on his nose as he laughs.

ANTHONY CRAIG  
Shit, man! That old coot said this  
was for her memorial wall! Last  
time I'll do business there.

BRASS  
So you admit you stole that car?

ANTHONY CRAIG  
No.

He leans on the table.

ANTHONY CRAIG (CONT'D)  
See, what happened was I bet my  
friend something and ended up  
paying for his trashed car.

BRASS  
Paying for it how?

ANTHONY CRAIG  
See, we had this bet and I lost, so  
I had to pay him for the car. But it  
was trashed, so I hauled it off to  
the junkyard. That old crone didn't  
pay me half of what it was worth!

Nick comes into the room with papers. He puts a few on top of Catherine's file, tapping the top one.

CATHERINE  
When you were arrested for grand  
theft auto last year, your DNA was

entered into the database. We've  
matched it to hairs and saliva in  
the front seat of this car.

Catherine taps the car in the photo.

ANTHONY CRAIG  
Like I said, I was in the car. I  
bought it.

CATHERINE  
And so were some other people. Who  
was riding with you?

ANTHONY CRAIG  
I was driving, me was riding  
shotgun, myself had the back seat  
all to himself.

NICK  
Cute.

CATHERINE  
Actually, Anthony, you and your  
split personalities weren't the  
only people in that car. There were  
whiskey bottles in the back seat  
that came back with four DNA donors -  
including you. And there was some  
saliva on the back of the driver's  
seat. That donor is related to you.  
A brother? A son?

Anthony's humor lessens but he still keeps up the act.

ANTHONY CRAIG  
I dunno what you're talking about.  
It was just me.

Nick pulls out a paper and sets it on the table next to the photograph. It's the artist's sketch of him. He sets the other one down beside it.

NICK  
This was the person sitting behind  
your seat. He had a flashlight -  
found that too, with his fingerprints -  
and he was making scary faces at  
one of the children that survived.  
The kid remembers him because he  
was the last thing he saw before  
his parent's car was run off the  
road. Before you, and this guy,  
and Mike killed them.

Nick leans on the table.

NICK (CONT'D)  
And we're going to suggest that you  
be charged to the full extent of  
the law because you killed a cop's  
family, Anthony.

Anthony and Nick stare at each other. Anthony suddenly realizes the weight of the situation.

ANTHONY CRAIG  
That's my older brother Jake. The  
game was his idea.

NICK  
See how easy that was?

Catherine pulls a pad of paper from the folder and slides it across. She sets a pen on top of it.

CATHERINE  
Write the names and addresses of  
everyone involved in this game.

Anthony starts writing. Nick stands up, satisfied. They will finally be able to arrest the people that killed Henry's parents.

INT. CSI - CORRIDOR

Catherine is walking down the hall reading a case file. She turns into a hall and then into her office door. She looks up and stops.

Henry sits in a chair in front of her desk. Jason lies on the floor with the coloring book and crayons she'd given him. The two look up at her.

CATHERINE  
You're not supposed to be back here for  
another four days Henry. What's up?

Catherine crosses to her desk and sets her file down.

HENRY  
I'm trying to fill out Jason's  
school application and paperwork,  
and I'm not sure what some of this  
is. I think they're calling the  
vaccinations something than his old  
school called them. And then there's  
these tests I've never heard of and  
I don't know if we need to take them  
or if they're also named something different.

Catherine sits down next to Henry, holding out her hand.

CATHERINE  
Let's take a look.

He grabs his backpack sitting next to his chair and pulls out the papers. She takes them and looks them over. She slowly looks up.

CATHERINE (CONT'D)  
You're sending Jason to Mason Howe Preparatory?

HENRY  
(worried)  
Is that a bad school?

CATHERINE  
No! It's an amazing school. It's  
also fourteen thousand a year.

HENRY  
(voice cracking)  
That's... Not a problem. Our  
parents... They, uhm, were very  
well off. We're... We're good.

Catherine looks down at Jason. He's watching Henry. He notices Catherine watching him and goes back to coloring.

CATHERINE  
Are you ready for school again, Jason?

JASON  
Yes.

CATHERINE  
My daughter is never ready for school.

JASON  
You have a daughter?

CATHERINE  
I do. Her name is Lindsey.

JASON  
Is she going to Mason Howe?

CATHERINE  
No.

JASON  
Does she like Hannah Montana?

Henry and Catherine chuckle.

HENRY  
He loves Hannah Montana.

CATHERINE  
So does Lindsey. Do you have  
Jason's vaccination records?

Henry digs more papers out and the two began filling out the papers out.

Jason reaches for a crayon and notices Nick standing in the door. The CSI is holding several case files and watches Henry and Catherine.

He and Jason look at each other. Nick winks at Jason as he crouches.

NICK  
Hey partner. Have you ever seen  
where your brother works?

Henry and Catherine stop talking, watching the two. Jason shakes his head.

NICK (CONT'D)  
If it's okay with your brother, you  
want me to show you around?

Jason looks up at Henry.

HENRY  
It's okay.

Jason gets up, watching Nick walk in. Nick hands Catherine his file and the two leave.

NICK  
So... Should we start with the guns?

JASON  
YEAH!

Henry stares at the door.

CATHERINE  
He'll take care of him.

Henry smiles at her.

HENRY  
I know. So how can I tell which  
vaccination is which?

FADE OUT.

THE END


End file.
